GOD'S ARMY (PG)
Written, Produced, & Directed by Richard Dutcher Originally Released: March 10, 2000
Reviewed by E. Benjamin Kelsey
* * ½ (out of four)
Jehovah Witnesses' notoriety as the Avon Ladies of religion, ever-ready to knock on your door and offer up a magazine chock full of things you definitely need, has been the source of many jokes on television and in movies for years. Less often, though sometimes more mean-spiritedly, the same has been done about the other door-to-door salesmen of faith, the LDS - aka Mormon - missionaries.
Now writer/producer/director Richard Dutcher is serving his own mission - to change the stereotype of Mormon missionaries, and Mormonism in general, by giving us a movie from their point of view. No, not a documentary or a church promotional video, but an actual movie, in theaters, popcorn and all.
Such a feat may sound like a pet project for any steadfast believer who's used to seeing the extent of Mormon cinema as ORGAZMO and Mormon-filmmaker Neil LaBute's anything-but-religious films, IN THE COMPANY OF MEN and YOUR FRIENDS & NEIGHBORS. But instead of jumping on an immediate soapbox and creating a purely self-serving and self-redeeming film, Dutcher has produced GOD'S ARMY, a surprisingly intimate yet humble film that remains as objective as possible, coming from the eyes, mind, words, and heart of a true believer.
GOD'S ARMY tells the story of Elder Brandon Allen (Matthew Brown), a young man just arrived from Kansas to serve a mission in Los Angeles for the LDS church. "You're not in Kansas anymore, Elder," a welcoming missionary greets him. Trite, but true, something any one of us might have said in the same situation. One day in L.A. definitely holds a whirlwind of experiences for a naive 19-year-old.
Immediately, Elder Allen is introduced to his new companion, Elder Dalton. At the ripe old age of 29, Elder Dalton (played by Dutcher) is the oldest serving missionary in the district, someone the lot of 19 and 20 year old missionaries affectionately refer to as "Pops". As we quickly learn, Pops is the stalwart missionary, eager to get the job done, no questions asked. In fact, even as Elder Allen carries his luggage back to an apartment he's yet to see but will be living in for some considerable time, Pops is stopping and knocking on doors, asking anyone who'll give him the chance if they'd like to hear a brief message.
It's all a bit overwhelming for Elder Allen, who's internally dealing with the issues of a family falling apart back home - a mother who's asked for her name to be taken off the records of the Church, a stepfather about to go to prison. The culture shock - not of being thrust into L.A. from a dinko town in eastern Kansas, but of suddenly being a messenger who lives, sleeps, and breaths religion - is more than a bit jarring. Awestruck by Pops' ability to assert himself towards complete strangers at their own homes, Elder Allen responds, "I could never do that." Without flinching, the no-nonsense Pops tells him, "Yes, you can. You get the next one."
The first day on the job seems too much for Elder Allen, and that night, he finds himself in a bus station, ready to forget the mission and serve his own well-being. Some reverse psychology from Elder Dalton brings him back, but the battle for self-conviction is already underway.
GOD'S ARMY isn't so much about missionary work as it is about attaining a testimony of personal convictions one's never been forced to question before. That being the underlying theme, it's a bit disappointing that the message comes off so wearily in the end. It seems Dutcher wanted to touch base on every key belief, misconception, and stereotype the Mormon church carries, an effort all too time consuming to leave room for character development. Even if Dutcher's overall motive was only to give America a glimpse of what Mormonism is truly about, doing this by way of character study would only have accentuated his cause.
For example, far too often than not, Dutcher puts all emphasis on the events surrounding the missionaries, rather than on how these events are affecting them. The elements of storyline and character are kept too far separated, the focus constantly switching between them. While Dutcher engages himself in a checklist of things Mormons might face while serving a mission, characters are allowed to become subscripts to subplots - and underdeveloped ones at that.
Ironically, it is within these weaker alleys that the most powerful material is awaiting realization. In particular, what could be the most promising aspect of the film concerns a fellow missionary's vehement interest in anti-Mormon literature. Michael Buster undeniably gives the strongest and most professional performance of the group as Elder Kinegar, a missionary whose faith is crumbling under the weight of constantly fueled doubt. What could've served as the film's most poignant device for both believers and non-believers is suppressed so as not to intrude on the above said checklist.
Often, too much leeway is given to tick off the "this and that"'s that should, could, and would only work had they been combined with an examination of a young man's psychology. Instead of demonstrating how Elder Allen views the events on his mission, Dutcher seems assured that merely presenting the two in the same scene will allow the audience to "figure it out", leaving us to guess and internally decide how the young man is being affected.
Still, Dutcher must be applauded for his objectiveness. With a subject as touchy as religion, making a film about your own faith is perhaps the riskiest venture one could take. Seeming presumptuous, even pompous, could be a near guarantee in the hands of a relatively inexperienced filmmaker/screenwriter who's examining their own beliefs. GOD'S ARMY isn't 100% success in that department. A miracle healing in the film is sure to seem highly brazen to some non-Mormons. Yet, at the same time, Dutcher willingly and unbiasedly brings up attributes of the religion that have remained highly controversial and repellent to outsiders for years. And non-Mormons are never presented as wayward souls in need of salvation only Mormons can provide. A scene relating to the contraversial issue of blacks being denied priesthood authority within the Church until 1978 sums up with a black man telling a black missionary, "they're making a fool out of you". And with that, the scene ends. Dutcher doesn't give his valiant Mormon a brilliant explanation to reply with. The conversation is over. The non-Mormon finishes on top. It's a sincerely appreciated gesture.
On the plus side for believers, in a relative way, Dutcher uses his discreet abilities to delicately debunk several untruths often associated with the Church. The fact that Mormons are Christians who read the Bible is humbly clarified during a scene of scripture study. The fact that Mormon missionaries are not paid for their two years of service is confirmed during a modest "get-to-know-you" conversation between Elder Allen and Elder Dalton. Whether the script is on the defense or offense for Mormon beliefs, Dutcher is careful not to paint the Church through bias eyes that forgive and forget any "flaws" the faith may have.
In the acting department, Matthew Brown shows a definite competency for portraying the timid observer; an unsettled outsider who must be thinking a great deal more than they are saying. While Brown is meant to be the main star, the center of the film, if one can be had, is definitely Dutcher's Elder Dalton. He's the mentor, the example, the teacher. In this role, Dutcher does fairly well, but his character seems a bit too impassioned despite his tenacity. It's the smaller actors who outshine the leads hands down when given the chance. The aforementioned Buster, DeSean Terry, and even the nearly missed Jeff Kelly are all impressive as fellow missionaries, and luckily, Dutcher has given the first two semi-substantial parts. The one overall flaw among the actors - not one of them can pass a convincing laugh to save their soul.
All in all, GOD'S ARMY may work best as a curiosity piece. The target audience is unclear. If it's Mormons, there are plenty of moments where identifiableness becomes monotony of things they already know. If it's non-Mormons, there is plenty of humor Dutcher probably doesn't even expect them to get. Yet for all the moments he leaves the non-believers on the back burner, its obvious he's trying his best to appear genuine to both sides, no matter what the scene. Either audience should at least find a buzzing curiousity as to how the LDS faith is first being presented onscreen (in a serious manner). And both audiences may come away a bit surprised, even pleased, with the results.
March 10, 2000
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